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An occasional blog about populist politics and popular music, not necessarily at the same time. LinksLocal Links Social Media My Other Websites Music Politics Others Networking Music DatabaseArtist Search: Website SearchGoogle: Recent Reading
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Music Week [530 - 539]Sunday, March 27, 2016 Music Week
Music: Current count 26420 [26400] rated (+20), 410 [411] unrated (-1). Another short week, but at least I found a few recommendables this week, thanks, I must admit, to slipstreaming other critics. You can read more substantive reviews of Kendrick Lamar's 2010 mixtape and Anderson Paak's new one (also HM Kyle) by Robert Christgau, of Bonnie Raitt (and BJ the Chicago Kid -- a tip he fed me a couple weeks ago) by Michael Tatum, and Audio One by Tim Niland. Tatum also has an excellent review of Hamilton (a record he likes a lot and I rather admire, although I'll mention that I was blown away by Daveed Diggs' Small Things to a Giant), a Willie Nelson review I don't buy at all (his awkward avoidance of any hint of swing couldn't keep other versions -- I've heard thousands -- from crowding my mind; above all Ella and Louis Again), and a cursory HM for Lyrics Born's Real People, my (and Laura's) favorite album of 2015. I suppose I need to revisit Rihanna's Anti, which I gave two stars to a couple weeks back, before Tatum's A- and Christgau's A. (I had Erykah Badu's You Caint Use My Phone, A- by Tatum and two stars by Christgau, as an A- back in December. Tatum also reviews Archy Marshall's A New Place 2 Drown, an A- for me in February.) Hopefully by the time I post Rhapsody Streamnotes, no later than the end of the month. Aside from two advances from the Swiss label Intakt, one of the worst weeks for the new jazz queue ever. One problem is that the queue got down to one record before I added in this week's haul. (Audio One was sampled from Bandcamp, as were the Borah Bergman and Paal Nilssen-Love albums.) Got email from the publicist today that the Vijay Iyer-Wadada Leo Smith album A Cosmic Rhythm With Each Stroke is "out NOW." Not a high water mark in either catalog, but the only ECM record I've been able to play in my CD player for several years now, so I suppose it's worth a mention. Reminds me I have more ECM links to download -- most promising is a new record by Nik Bärtsch. Thought I'd go back and catch up on the old Bonnie Raitt records I had missed (including three Christgau A-). Her debut was pretty good, but it seemed somewhat less than several contemporary groups she evoked -- e.g., Delaney & Bonnie, Joy of Cooking -- and for that matter the two albums she followed it with (Give It Up and Takin' My Time). I didn't get much out of the others, although with Longing in Their Hearts (1994) still missing I decided to give The Best of the Capitol Years a chance, and it makes a pretty good case for her MOR period. I'm not sure why I've never cared much for Raitt, given how pivotal my one brief encounter with her had been (this would have been in 1973, or maybe 1972). Carl Boggs was a Poli Sci professor at Washington University, a lefty and a big fan. He came up with the idea of hiring Raitt to do a concert meant to be a benefit for paying down legal bills of one of the guys arrested for burning down the Wash U ROTC building before I got there. I was in a student group called Notes on Everyday Life -- we published a very underground tabloid -- so he used us to get the concert staged on campus. I had little to do with this other than filing the paper work, and almost missed the concert: I hooked up with my first girl the night before (or was it two?) and we only got out of bed to make the show, so I was pretty dazed that night. But I'm pretty sure it was the first concert I ever went to, not that I remember any of it. We went to the the party at Boggs' house afterwards. I saw Raitt there -- in fact, almost smashed into her -- but was far too shy to even say hello. (She was probably the first celebrity I had ever gotten that close to. What I remember was her looking very tired, and short.) That may also have been the first time I smoked pot -- I was very late getting to any of these milestones. When the party pooped out, we wound up getting breakfast with eight or ten others. Then my girlfriend and I went back to her house, to bed. Had these events played out in different order I might have credited Raitt for turning me into a human being. As it was, she was at most a distraction. I only listened to her albums much after the fact. New records rated this week:
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Unpacking: Found in the mail last week:
Ask a question, or send a comment. Monday, March 21, 2016 Music WeekMusic: Current count 26400 [26384] rated (+16), 411 [411] unrated (-0). Rated count continues to plummet: after averaging 39 in February, March's totals are 24, 21, and now 16. Last week I made up for the shortfall by finding seven A- records, but this week I didn't come up with any (can't remember when the last time that happened was, other than weeks I shut down for travel). Best I can do is six high HMs, with Jeff Williams probably the closest call. Maybe Larry Young's In Paris should get extra credit for its huge booklet? Main reason for falling short is that I've been out of the house, trying to help my sister fix up our late parents old house so she can move in. That should give me something practical to do over the next several weeks. Nonetheless, the incoming queue has slowed down to the point where I'm still keeping pace. I do have some download links I can tap into, but I don't count them before they hatch, and I haven't felt much energy for dealing with the hassle. I'll post a Rhapsody Streamnotes some time before the end of the month, even though it's likely to be a short one -- only have 85 capsules at present. New records rated this week:
Recent reissues, compilations, and vault discoveries rated this week:
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Unpacking: Found in the mail last week:
Ask a question, or send a comment. Monday, March 14, 2016 Music Week
Music: Current count 26384 [26363] rated (+21), 411 [413] unrated (-2). Rated count dropped further (was 24 last week). Next week will most likely be lower still, at least if I manage to spend any substantial amount of time working on my sister's house. Not sure what happened last week. I suspect both interest and listening time were down as I'm coming off my 2015 wrap up efforts but not paying much attention to 2016. Still, relatively high share of recommended records this week. The Tom Zé was recommended by Christgau the previous week, but it took me a while to find it on Rhapsody. (The other Zé record Christgau liked, Tropicália Lixo Lógico, was an A- back in 2012.) BJ the Chicago Kid and Wussy were tips from Michael Tatum (although Christgau wasted no time certifying Wussy). Threadgill was the most obvious prospect in the incoming queue, aside from vault discoveries from Thad Jones/Mel Lewis and Larry Young (still pending). Two HMs came close. The Kendrick Lamar dump is mostly up to snuff, maybe even genius, but I kept stumbling on some dull stretches that should have been edited out -- although doing so would have cut the "album" well under 30 minutes. The Danny Green record grew on me despite my usual disinterest in piano trios and dislike for string quartets. I rarely fall for postbop jazz that lush, but it almost became the exception -- indeed, might have had I stuck with it longer. I'll also note that the Loretta Lynn record is likely to be much enjoyed by fans, although it doesn't really add much. The concept there is to do for her what Rick Rubin did for Johnny Cash in his final years: to capture his voice on a vast songbook that may (or may not) enhance his legacy. That worked mostly because Cash had such a unique voice. Lynn's voice isn't in that rarefied league, although she's sounding remarkably good here, and she's got a lot more production support than Cash had. John Carter Cash co-produced, along with Lynn's daughter, and I hear they have 200+ songs recorded since 2007, so I expect we'll be hearing a lot more from them -- perhaps part of the reason I managed to curb my initial enthusiasm. Also bothered to listen to five Rough Guide releases -- a couple were Christgau HMs, but the best of the batch was a pick back in 2009 (fun fact: I also have 2001's The Rough Guide to Merengue and Bachata and 2006's The Rough Guide to Merengue at A-). Most I tried to track down the source dates for, with the usual mixed results. The label's compilers usually have good ears, but I've long been irritated by their shoddy documentation -- wouldn't you think that a company that publishes books would take that more seriously? Working off Rhapsody is even more frustrating, as I can only imagine how bad the booklets might be. John Morthland, one of the finest rock critics to emerge in the golden age of the art, died last week. It came as a complete shock to me, partly because only a couple months ago he sought me out with a Facebook friend request -- I was honored. I met him in the 1970s when I moved to New York. He had recently moved to New York himself from working at Creem in Michigan, along with Lester Bangs and Georgia Christgau. I didn't run into him much, but after he moved to Austin in the mid-1980s Georgia would occasionally mention him, and I wound up corresponding with him a bit. Sometime around 2003 I even managed to drive through Austin, and looked him up and had lunch. He asked if I was still strictly into rock, and I told him that I had mostly moved on, much as he had -- in fact, his The Best of Country Music guide book helped me out a lot (although I grew up close enough to country music it wasn't much of a leap; when it was cut out, I bought a stack of his book and handed them out as presents; one thing I probed him on was doing a website around his book, but he didn't have any interest in going back there). He was a very kind and generous person, an encyclopedic mind which he shared freely. His passing is a real loss. I meant to collect more links, but for now I'll just go with his Rockcritics.com interview. Also Katy Vine's memoir, from Texas Monthly. New records rated this week:
Recent reissues, compilations, and vault discoveries rated this week:
Unpacking: Found in the mail last week:
Ask a question, or send a comment. Monday, March 7, 2016 Music Week
Music: Current count 26363 [26339] rated (+24), 413 [410] unrated (+3). Rated count is down this week. I can't think of any particular reasons, other than that I'm getting tired and/or lazy. A lot of records stayed in the changer longer than usual. About three-quarters of the records (18 below) are 2016 releases. I didn't consciously decide to move on so much as I started running out of 2015 releases to chase down. I'm not sure how much remains unsearched of the Ye Wei Blog list, but I only see two albums from there listed below (Youth Worship is recommended to people who like that sort of thing -- I called it alt/indie but it's got a heavier sonic depth without being punkish). The live Drive-By Truckers album is one I had been avoiding, partly as redundant but mostly because I didn't want to invest three-plus hours in a sitting. It only got one spin, but I never regretted a minute of it. Then I went back and listened to two early albums I had missed, and a best-of I probably shouldn't have bothered with. I haven't been all that happy with the group's later ATO albums, but all the source albums on New West are superb, each worth having in its own right. The problem with Greatest Hits is that I've hardly ever heard such an album that elevates less over its source material. I wound up giving it two extra plays to see whether I should knock it down, but in the end didn't. Still, not the place to start. The Meridian Brothers compilation, a 2013 release, was featured in Robert Christgau's latest Expert Witness along with two Tom Zé albums -- one old news here (Troplicália Lixo Lógico, an A- from 2012) and a newer one (Vira Lata Na Via Láctea, from 2014), I'm listening to as I'm writing this -- and a long list of HMs from Latin America (or wherever Sidestepper comes from). That list went back as far as 2010 (Anibal Velasquez) but didn't mention two more recent Meridian Brothers albums on Soundway. I can recommend the one album on his HM list I had heard: Haiti Direct: Big Band, Mini Jazz & Twoubadou Sounds, 1960-1978 (an A- in 2014). The Rough Guides continue to drive me crazy. I slogged my way through Psychedelic Salsa [B+(**)] and Psychedelic Samba [B+(***)] a while back, but hadn't notice any of the three he reviewed. I jotted down a list of more/less recent Latin American albums I had noticed and recommended but Christgau hadn't reviewed. Thought I'd share that with you here:
Of course, I'm no expert. I only find out about these discs by accident, don't have much back catalogue to compare to (even compared to, say, African music), don't follow Spanish or Portuguese. There are probably more albums I have misfiled somewhere else, like under jazz or electronica. (I had Fumaca Preta filed under Europe -- its leader is described as Portuguese-Venezuelan.) I skipped over most Latin jazz. I also used 2010 as a cutoff date -- there's a good deal more on older lists. New records rated this week:
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Unpacking: Found in the mail last week:
Ask a question, or send a comment. Monday, February 29, 2016 Music Week
Music: Current count 26339 [26298] rated (+41), 410 [420] unrated (-10). Most of this week's haul has already appeared in Rhapsody Streamnotes, if you noticed. I was rather bummed when I posted a link on Facebook and only got three "likes" and no comments. I put a lot of work into that, and I thought I came up with some really interesting records, most of which got very little recognition elsewhere. It seems that even Facebook didn't like the post, as it swallowed the URI and didn't bother picking up an image (a process which became mysterious and unpredictable a year or so ago). I did check that the link works, but maybe it got assigned some super-low priority that kept it out of readers' feeds. I also don't seem to have any way to share my Facebook posts with the Expert Witness group, which would give them a little broader circulation. One thing a bit odd about last week was that most of the A- records pictured to the right and listed below came after the Streamnotes post. Usually I find a few things as I'm wrapping up. but last week only Tribu Baharú appeared in time, with two records (Alberto Pinton and Daveed Diggs) found the day after the post. This week's two jazz records are 2016 releases, from my mail queue. The other two appeared on Ye Wei Blog's 2015 EOY list (although it looks like the Diggs album originally appeared in 2012). About half of this week's records are 2015 releases -- consider that half-full or half-empty as you like. Thought I'd note that we watched the Oscars last night -- using the DVR to speed through commercials, acceptance speeches, and most of those song numbers (my wife had control of the remote). We probably saw a record low number of nominated films, and I've rarely been so ambivalent about the ones I've seen. Some crib notes:
I'll stop there, since most of the rest was won by Mad Max: Fury Road. I can sort of see the logic behind Makeup and Hair Styling, Costume Design, and Film Editing (though I much preferred Carol in the first two and The Big Short in the latter, just to pick the first things that popped into my mind). But the two awards for sound only reinforce my old suspicion that the loudest film wins. By the end I realized that Mad Max: Fury Road would have been less offensive (and probably made more sense) had I turned close captioning on and cut the sound way down. For context, here's a quick, ranked rundown of 2015 movies we did see:
As I said, we didn't see much in 2015. We did catch our first 2016 release, Hail Caesar, today: not an especially good film, but it had more than a few great jokes (and a couple amusing dance numbers) [B+]. The Revenant is still in local theatres, and there's a good chance that Spotlight will get another encore. Less likely that The Hateful Eight will come back, but that's another film that we meant to see but didn't find time. On the other hand I've probably watched more television this year than any time since I was a teenager. While most of it is rather light, I've gotten to where I prefer the pacing of a serial. Something, perhaps, to write about at a later date. Too late for yesterday's political post, but I should note that we can add Kris Kobach's name to the list of Donald Trump endorsers. Had this happened a day earlier, I would have slotted his name in the Trump fanclub list somewhere between David Duke and Ann Coulter. Kobach is Secretary of State here in Kansas, or as he likes to think of it, the guy in charge of rigging elections. But he also freelances writing anti-immigrant legislation for ALEC, most of which has been ruled unconstitutional. A truly repugnant excuse for a human being. New records rated this week:
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Unpacking: Found in the mail last week:
Ask a question, or send a comment. Monday, February 22, 2016 Music Week
Music: Current count 26298 [26267] rated (+32), 420 [422] unrated (-2). Skipped Weekend Roundup again. Instead, I cooked up a relatively simple two-dish dinner for my wife's birthday (also my nephew's): a variation on paella valenciana (with chicken, chorizo, sea scallops, shrimp, and a couple lobster tails, but no clams) and a salade niçoise (with canned tuna instead of the now-more-fashionable grilled). For dessert, a flourless chocolate cake with ice cream on the side. Prep took several hours, but it all went fairly leisurely. Good thing, as my back was killing me. The political news I missed commenting on proved uneventful. Trump and Clinton made small, indecisive steps toward eventual nominations: Trump winning South Carolina with about 35% of the vote, Clinton eeking out another close caucus win in Nevada (52.6% to 47.3%). With the party establishment totally behind Clinton, all she has to do to win is not get beat too bad, which thus far has only happened once in three contests. Trump, who still alarms his party's establishment, has more of an uphill climb, and with 32.5% of the vote hardly looks inevitable. Still, he could hardly dream of facing a lamer set of opponents. With Bush dropping out -- he got 7.8% of the South Carolina vote, barely edging John Kashich (7.6%) and Ben Carson (7.2%) for 4th place -- the establishment appears to be stuck with Marco Rubio as their standard bearer. I was surprised that Rubio edged Cruz for second place (22.5% to 22.3%), but Rubio got key endorsements and South Carolina Republicans seem to be relatively good at following orders. Rubio also got key endorsements last week in Kansas: Gov. Sam Brownback and Sen. Pat Roberts, both vastly unpopular even among Republicans, as well as neocon Rep. Mike Pompeo. Still, I find it very hard to take Rubio seriously. Nevada Republicans will caucus on Tuesday, and South Carolina Democrats will vote on Saturday. FiveThirtyEight gives Trump a 64% chance of beating Rubio (25%) and Cruz (10%) in Nevada, and considers Clinton a cinch (>99%) in South Carolina. Their odds greatly exaggerate the voting split: the actual polling averages are 57.5% Clinton, 32.0% Sanders, which is about the flipside of Sanders' margin in New Hampshire. We've been hearing conventional wisdom for weeks now that Sanders will falter once the elections move from "white liberal" states Iowa and New Hampshire to ones that are more "diverse" -- but it now appears that Sanders won a majority of Hispanic voters in Nevada. One link I've been meaning to mention is Matt Karp: Why Bernie Can Win: some things to think about next time you hear we have to all get behind Clinton because she's the "electable" one. On the other hand, see Steve Benen: Sanders' turnout 'revolution' off to an inauspicious start: so far, at least, Democratic Party turnout this year is not up to the levels established in 2008 (and more alarmingly, I suspect, Republican Party turnout is up). Two more links: Nancy Le Tourneau: Post-Policy Republicans Gave Us Donald Trump, which refers back to her earlier post, GOP Chaos: Post-Truth vs. Post-Policy: Over the last eight years, the Republicans have given up on promoting alternative policies -- partly because Republican think tank proposals, like the health care plan Romney implemented in Massachusetts, could be adopted wholesale by Democrats -- and turned into "the party of no." Actually, it would be more accurate to say that they've turned into extortionists, along the lines of "elect us, or we'll really make you suffer." (Note that the only policies Republicans have been willing to work with Obama on are ones intended to split Obama away from the Democratic base: TPP, offshore oil leases, and more war in the Middle East.) A large chunk of this week's records, including both A- albums (Beans on Toast and Ursula 1000), came from Ye Wei Blog's 2015 EOY list, the HMs including: Nigel Hall, Abba Gargando, DMX Krew, and No Fun. Actually a pretty diverse group of records (English folk, disco, soul, Timbuktu guitar, electronica, and a garage punk band from Germany. A similar number of lower grades: electronica, alt-rock along a punk-pop axis, Saharan wedding songs. Huge thanks to Jason Gross for digging all these up. The week's jazz releases include four limited edition LP-only releases that NoBusiness was kind enough to burn on CDR for me. None are great but three would be enjoyed by anyone with an ear for free jazz. The new Saul Williams comes recommended by Robert Christgau, and that led me to check out some of his back catalog. Can't say as I got much out of any of them, not that they aren't interesting. Maybe it's that I've always had trouble fishing lyrics out of their matrix. Maybe I'm confused by that context. Christgau also provides directions on the proper way to listen to the Hamilton soundtrack. My own approach was to stream the whole thing through once, while referring to the synopsis section of the Wikipedia article on the musical. I was thereby able to follow the plot and check it against my own recollection of the history. But unlike Christgau, I didn't make any extra effort to habituate myself to the music, which struck me as hackneyed and wordy -- a common trait of musical drama. My grade reflected that I was duly impressed, not least with the scholarship, but not much interested in hearing it again: B+(**). The Catheters came up thanks to a Phil Overeem facebook post. He compared their first album to the Stooges, and as usual he's right -- although I guess I'm less impressed by the accomplishment. Their second album caught Christgau's attention, and we wound up with the same grade. Never did this before, but here's a link for a Beans on Toast song/video. Good chance I'll post Rhapsody Streamnotes sometime this week. Currently have 104 albums in the draft file. In any case, it has to come out before the end of the month, which is next Monday. Also working on a books post. Haven't done one of them in quite some time. I've even read a couple of the books I'll be reporting on. New records rated this week:
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Unpacking: Found in the mail last week:
Ask a question, or send a comment. Monday, February 15, 2016 Music Week
Music: Current count 26267 [26231] rated (+36), 422 [421] unrated (+1). Started to write a Weekend Roundup yesterday, but I lost a big chunk of time when we went out for shopping and sushi, and another when we watched The Good Wife and Downton Abbey. In the meantime I wrote an ill-tempered rant I wasn't very happy with about the late Antonin Scalia, and a short item on the Republican debate. Scalia was one of the most despicable figures in American politics in my lifetime. In his early years he was remarkably adept at twisting the constitution and the law to support his own political prejudices -- economist Martin Feldstein was one of the few I can think of to have debased his craft so thoroughly -- but in his later years he gave up on cleverness and turned into an ill-tempered crank and demagogue. He wasn't the first modern conservative appointed to the court -- Lewis Powell and William Rehnquist are obvious cases -- but he was a movement conservative, not content to rule he went out to campaign. One reason Republicans are so apoplectic about the prospect of Obama naming a replacement is that Scalia had made himself one of the political idols of their movement. To them, he had become sacrosanct, turning every snarky dissent into gospel. I did manage to get out one tweet on Scalia:
Scalia called his legal philosophy "originalism" but what it amounted to was little more than an egomaniacal fraud as Scalia was invariably able to find his own political agenda among the "original intents" of the Founding Fathers. Three obvious problems with this: one is the utter impossibility of anyone growing up in modern America fully understanding the mindset of anyone from the 18th century; the second is that those founders were a remarkably diverse and divisive lot, so there's really no single "original intent" to divine; and third, the common recognition that the genius of the US constitution lies in its flexibility, how it has been adapted over time. Yet Scalia has often been humored (and in some quarters revered) for this nonsense. What he tried to accomplish was to imbue the Constitution with something like the doctrine of papal infallibility, then proclaim himself pope. The arrogance of it all is breathtaking. Anyhow, that's more or less what I meant to write. I also had some links, including two to more moderate pieces by Michael O'Donnell: Alone on His Own Ice Floe, a 2014 book review of Bruce Allen Murphy: Scalia: A Court of One, and the post-mortem It will Be Easy to Replace Antonin Scalia. The latter doesn't refer to the political process, which with the Republican-controlled Senate will be arduous and often embarrassing, but to the impact and stature of the former Justice, who conceded both many years ago (especially in Bush v. Gore, a ruling he explained should never be taken as a precedent elsewhere). My original draft is squirreled away in my notebook, along with various other aborted drafts and more personal notes (plus a lot of what I wound up posting -- it's basically my backup store). I won't go into the other stuff here, other than to mention that when the Kansas Supreme Court ruled last week that the government of Kansas -- which is to say Governor Brownback and the neanderthal state legislature -- had violated the state constitution by failing to adequately and fairly fund public education. Brownback's response? He wants to personally appoint a new Kansas Supreme Court. This isn't the first time the Court has ruled as much: last time the legislature came up with their "block grant" scheme and basically dared the school boards to sue them again. When Scalia died, Brownback issued a moving tribute to his hero. Clearly, one thing Brownback learned from Scalia is that an oath of office swearing to "uphold the constitution" isn't enough to keep a Republican from picking and choosing which parts they want to uphold. Also listened to a few records this past week. The number of A-list jazz records for 2016 increased from two to five, and it's worth noting that trombone great Roswell Rudd has two of those five. Also that one was originally recorded in 2001 but unreleased until now. The other three A- records this week are alt/indie rock. Shopping showed up on Robert Christgau's Expert Witness last week (he swear the earlier Consumer Complaints, *** below, is every bit as good, but my more limited exposure prefers Why Choose). Radical Dads came from Jason Gross's EOY list (at Ye Wei Blog), as did a bunch of HMs listed below: Jason James, Souljazz Orchestra, White Reaper; Czarface, Haiku Salut, PINS, Worriers; The Alchemist/Oh No, Inventions, Seinabo Sey. It's not the best A-list Gross has ever come up with -- most years I discover 4-6 A- records there (like Radical Dads' Rapid Reality, an A- in 2013). The third A- is American Man by the Yawpers, a record that no one I know has gotten onto yet: its only appearance in an EOY list was 19th among Hipersonica's international albums over in Spain -- I checked it out because I've often liked albums on the label, Bloodshot. Perhaps a bit long on American mythos, but struck me as a non-southern Drive-By Truckers with a dash of non-Jersey Bruce Springsteen. But what do I know? Feels weird to me to be the one finding alt/indie and post-punk albums. Definitely not my calling. New records rated this week:
Recent reissues, compilations, and vault discoveries rated this week:
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Unpacking: Found in the mail last week:
Ask a question, or send a comment. Sunday, February 7, 2016 Music Week
Music: Current count 26231 [26199] rated (+32), 421 [412] unrated (+9). I don't have much to say this week. Most of the records below are still 2015 releases (11 are 2016, only one of those non-jazz). Since I froze the 2015 file, belatedly graded 2015 releases are appearing in green. (Note to self: this greatly increases the likelihood of a coding error making the file unviewable, so check it more often.) I have decided (for now) to continue adding to the jazz and non-jazz EOY lists, and I've added a few things to the EOY aggregate -- I'm not really looking for more lists, but occasionally stumble onto one (like this one from If Men Had Ears -- supposedly objective because numbers were crunched, but there's still selection bias, and anything that elevates Tame Impala to second place is a bit suspicious). A fair number of the records below are alt-country. Last year I got a lot of good tips from Saving Country Music. Less so this year, but I checked most of their nominees out -- even Don Henley's not-so-bad album (much better than the James Taylor album that also appeared on Rolling Stone's EOY list). I complained last week about not being able to find Arca's Mutant on Rhapsody -- thanks to the reader who encouraged me to try again. The Eszter Balint album appeared on Christgau's EW post (also Thomas Anderson and Donnie Fritts). It's worth noting that Balint's superb album was totally missed by the 700+ EOY lists I've compiled -- the second (or third) time Christgau has picked something that far from the spotlight. (Foxymorons was the other, with Mark Rubin only appearing on the list of a well known fan.) Old music has a couple albums from the wonderful Sheila Jordan. I noticed Better Than Anything in Downbeat, and when I found it on Rhapsody, I noticed a couple more albums I hadn't heard. I commented that she hadn't recorded anything new since turning 80 in 2008. Rummaging around a bit I found notice of an 85th birthday concert with Steve Kuhn in 2013, and her website showed events at least into 2014. No doubt she's moving into a treacherous age. Some more EOY list links:
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Unpacking: Found in the mail last week:
Ask a question, or send a comment. Tuesday, February 2, 2016 Music Week
Music: Current count 26199 [26163] rated (+36), 412 [408] unrated (+4). Nearly everything here appeared in yesterday's Rhapsody Streamnotes -- the eagle-eyed will note that the exception is saxophonist Roxy Coss's minor-label debut. That one can wait for late February, by which time it will have some company. How much is hard to say: I really need to start writing more on other things. Wrapping up yesterday's music column precluded a Weekend Roundup. I'll try to start by doing a midweek edition, by which time the Iowa thing will be history (not that I expect to have anything to say on the subject). In the last week, my jazz and non-jazz EOY files tightened up. When I first put them together, jazz had a big 52-33 lead in A-list files. End of January that had narrowed to 77-73 (with an 11-11 tie in reissues/compilations/vault music). There's a pretty strong correlation between what I think and what Michael Tatum and Robert Christgau write. If you read me, you probably read them, so are familiar with their picks. What I thought I'd do here is to pull out my list's non-jazz A/A- records that neither Christgau nor Tatum have reviewed thus far (the bracketed numbers are rank from my EOY aggregate file, as of yesterday; ** means ≥ 1000, breaking at 5 points):
I let the software renumber these, but there's a big gap between my number 1 and 2 -- about a dozen (OK, 11) common albums, although Christgau hasn't touched Ezra Furman (A per Tatum) and sloughed off Sleaford Mods and Low Cut Connie with low HMs. But I'm not looking for disagreements -- for what it's worth, a quick check shows 26 Christgau A/A- records I rated *** (12) or worse, out of 50 (with one records unheard, so I downrate a bit more than 50%) -- just to point out some exceptional records you may not have noticed. (Looking down the list, I find a few more tips I might have flagged, especially from Jason Gubbels, Phil Overeem, and Lucas Fagen.) PS: Added Arca: Mutant to the A-list while working on this today. Thanks to Thomas Walker for pointing out it finally surfaced on Rhapsody. It will be in next week's list, but is already in the EOY list file, reducing the jazz edge to 77-74. Various things held this normally-on-Monday post up, including continued fiddling with the EOY Aggregates: added a bunch of jazz ballots, two aggregates from Album of the Year, plus I finally scored my own grades (same as I had done for Christgau and Tatum). This resulted in some reshuffling at the top of the list: Father John Misty in 5th breaking the tie with Tame Impala, Kamasi Washington to 8th ahead of Sleater-Kinney, Julia Holter to 10th ahead of Björk, and Alabama Shakes topping Oneohtrix Point Never for 14th. Also the top jazz records got a sizable boost: Maria Schneider (30), Rudresh Mahanthappa (32), Jack DeJohnette (44), Vijay Iyer (48), Henry Threadgill (56), Steve Coleman (67), Mary Halvorson (74), Chris Lightcap (87), Matana Roberts (100), Arturo O'Farrill (112), and Cecile McLorin Salvant (117) -- most of the latter two's gains came from counting the Latin and Vocal votes on Jazz Critics Poll ballots. I wound up counting about two-thirds of the Jazz Critics Poll ballots -- in many cases the decision to include or exclude was arbitrary. I also counted 60+ Pazz & Jop ballots, although that's only about 15% of the total (those who voted in both had their ballots merged, with rank points from JCP; I didn't do rank points in P&J because of some presentation quirks). New records rated this week:
Recent reissues, compilations, and vault discoveries rated this week:
Unpacking: Found in the mail last week:
Ask a question, or send a comment. Sunday, January 25, 2015 Music Week
Music: Current count 26163 [26129] rated (+34), 408 [402] unrated (+6). The dead CD changer crisis is over. Having suffered two dead changers from Sony in just a few years, I splurged and bought the Yamaha. Main problem is that in order to let you change all five discs without having to spin the carousel around, the new unit is a couple inches deeper than the old one. The stereo equipment is housed in a cabinet I built way back in the 1970s for components of the time. The face of the new unit sticks out from the front edge, but at least the feet fit. I suppose I could tidy it up a bit by expanding the small hole in the back for the wires, but for now it works. Sounds pretty good, too. I continue making minor additions to the EOY Aggregate file, even after Pazz & Jop -- mostly adding selective P&J and JCP ballots. Still, I'm hundreds short of logging them all, so I suppose I could be accused of cherrypicking favorites to tweak the standings. Main result of this has been that Kamasi Washington's The Epic moved ahead of Julia Holter's Have You in My Wilderness to claim 9th place, while Sleater-Kinney's No Cities to Love edged ahead of The Epic to 8th. Neither gainer is a particular favorite of mine, although I do like both more than Holter. Main reason I think I'm doing this is that I'm continuing to scour the lists for prospects, so I'm picking out ballots that look promising. However, no amount of fudging is going to displace Father John Misty or Tame Impala from the top ten. Of course, their current tie for 5th is fragile. The other reason, I suppose, is that I'm reluctant to move on with my life, even though I've been very neglectful of website work I've committed to (not to mention writing a book or two). In this regard January 31 looms as a drio dead date: I intend to freeze the 2015 list then, which would make it a good date to halt doing everything else 2015-related. This week's finds all come from scrounging around the lists, and I'll do some more of that next week. Every A- record this week came highly rated from someone but was a pleasant surprise to me. I wound up liking Bully more than similar groups like Chastity Belt and Childbirth. Crampton turned out to have one of the year's best electronica albums -- seems like I've parked a lot of those in the high B+ tier this year (Carter Tutti Void, DRKWAV, Floating Points, Jlin, JME, Kammerflimmer Kollektief, Lifted, Lnrdcroy, LoneLady, Noonday Underground, RJD2/STS, Skrillex/Diplo, Jamie XX). Even better is Plastician. Michaelangelo Matos spent 60 P&J points on his top two: one, as far as I can tell, is a podcast, something I have no clue what to do with (and rather doubt should be considered an album at all), and the other is Plastician's cut and paste dance mix. It at least is CD length, although I have no idea how to get one burned. (For one thing, I doubt the samples are cleared, but if you can figure this out, please consider sending me a copy.) The reissues lists from electronica specialist publications and stores were full of obscurities I had never heard of. I managed to dig up a handful of those, sorting Patrick Cowley and Savant above the A- cusp -- Mariah and Arthur Russell below. (The Trevor Jackson compilation is more Adrian Sherwood so I wouldn't call it obscure. It's probably possible to assemble an A- Sherwood CD, but why go to that trouble when you can have a half-dozen B+'s instead?) I also waded through three Rough Guides, something that eats at me more than it will you, because I want to have some idea when and where these songs come from, and that information is awful hard to dig up. Still, a winner there, disguised as something else (Lost in Mali). Three high HMs might have benefitted from more patience and dilligence on my part. Damily is a Malagasy guitarist/band that recycles soukous with extra grit and distortion. Michael Bates is a bassist leading what's basically a Michael Blake sax trio, roughly comparable to Blake's own Tiddy Boom (an A- in 2014). Then there's the Velvet Underground's Complete Matrix Tapes, which at 4CD got one spin and a summary judgment. Lots of wonderful music in there, but also lots of old news -- 1969: Velvet Underground Live came from these tapes -- and I got a bit tired of hearing several songs recycle four or more times. Chances are if I had the box, the booklets, etc., I might have leaned the other way. But I didn't really get the sense that additional sets added much, unlike some jazz boxes I can think of (Miles Davis at the Plugged Nickel, Art Pepper at the Village Vanguard). Current plans are to publish a Rhapsody Streamnotes by the end of the month. Currently 90 entries in the draft file -- shorter than most columns but not too shabby. New records rated this week:
Recent reissues, compilations, and vault discoveries rated this week:
Old music rated this week:
Unpacking: Found in the mail last week:
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